STATEMENT OF WORK

My practice interrogates inner and outer phenomena on micro and macro scales. Motifs of the inner body, flora and fauna of my hometown on the Chesapeake Bay, and collaged media, are employed in the questioning and acceptance of regenerative systems and cycles. Marks of the passage of time and the cycles of decay, damage, healing and rebirth that are present in our body, mind, eco, and solar systems are picked apart and reconfigured in a desire for sense and understanding. Biographical and collective experiences, as well as sensory and emotional memories, are layered on top of each other in a way that reinforces the alchemic reaction of the paintings’ diverse and irregular material vitality. In the same way moments are built up and materials are added, they are also removed, with traces of the editing process remaining a visible, an integral aspect of the work. Wood, collaged photos, rope, jute, mirrors, screws and paint query schemas of the human condition, painting’s history, and painting’s influence on our ways of seeing. Each painting plays a role in a longer term investigation of the limits and possibilities of what a painting can function as. Can a painting exist as a time machine, a window, a novel, a sentence, a film, all at once?